Review: When it comes to cinema, there are often little gems in a sea of bigger spectacles, that can break through in the most proficient way. Last year, I pleaded to the entire film universe that discover and understand Inside Llewyn Davis from the Coen Brothers after seeing it for the first time at NYFF. This year, Ive seem to already come to terms that the next film that will utilize all my energy and resources this year will be Damien Chazelles highly intense psychological drama Whiplash. An impeccable and tightly wound experience that brings your anxiety to a feverish level. As small, and utterly different as Im about to compare, I havent felt this uneasy with a films tension since Paul Greengrass Captain Phillips, coincidentally also was a NYFF title. Two other similar traits that embody the two are the intense and completely submersible performances that inhabit them. Stars Miles Teller and J.K. Simmons are absolutely astonishing, featuring two of the years very best turns.Chazelles film tells the story of Andrew (Teller), a first year music student that seeks out and joins the prestigious school band, headed by an intense and frightening teacher Mr. Fletcher (Simmons).Walking out of the screening I fully knew (though I fully hope to be proved wrong this year) that Miles Teller would be my Oscar Isaac this year. A performance that should shoot to the top of any awards consideration for a lead actor, but unfortunately will be passed over show after show. Teller is submerged in a way that we havent seen the young actor achieve at this stage in his career. After plowing onto the scene opposite Nicole Kidman in Rabbit Hole, and then helming The Spectacular Now with complete ease and intensity, I was not expecting him to be the machine of fury and magnitude that is on display in Whiplash. There are moments where he channels the emotional aura of performances like Tom Hulce/F. Murray Abraham in Amadeus, as crazy as that sounds. I am so excited to see where Teller goes from here. It makes the future of film a lot more bright, knowing that someone like him will be rising up in the ranks.Everything youve heard about J.K. Simmons is true and then some. A fully fleshed out supporting role, Chazelle doesnt write Fletcher as a caricature. Hes a deeply acute individual, full of passion and acrimony. Chazelle doesnt keep Simmons at a 10, he and Simmons allow him to find a range of empathy, hatred, and cryptic allowances that will keep you at the edge of your seat. As I watched Simmons flesh out a performance that can only be described as magnificent, I kept coming back in my mind to Christoph Waltz in the Oscar-winning Inglourious Basterds, a role that found much heat on the awards circuit. The world/all film lovers will not be able ignore the stunning presence of Simmons. A Supporting Actor nominations (maybe even a win) seems all but assured (and deserved). Looking back at the veteran actors career that included memorable roles in Juno, Burn After Reading, and Up in the Air, a role like this could not have come at a better time. Already impressive in his brief work in Jason Reitmans Men, Women & Children, writers, directors, casting agents, and producers will be pounding on the actors door.You cant credit Whiplash without citing the words and control by writer/director Damien Chazelle. An amazing and outstanding sophomore effort (unfortunately have not seen his debut Guy and Madeline on a Park Bench) that channels a young Bennett Miller. Vigorous, self-assured, and innovative, Chazelle is a brilliant auteur filmmaker that knows exactly what type of films he wants to make. He takes inspiration from his own life, his love of film and music, and other places Im sure we dont know about, and molds them into a gritty, layered experience, conditioned with rich characters, all realized through the writers story. Its one of the best scripts of the year.Whiplash features some of the best minutes of film seen in 2014. An ending that will bring tears t…